#grundgestalt — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #grundgestalt, aggregated by home.social.
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Hi Everyone,
yesterday, after completing my latest work, I felt the urge to experiment with it.
So I isolated the initial fragment of "Didja Get Any Onya" and overlapped it at the end of my piece.
I found the result quite surprising. Would you mind sharing with me your opinions? Thank you very much!
Eidon't DoThat
https://eidon.bandcamp.com/track/onya-get-any-didja-xenochrazy-ii
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Hi Everyone,
yesterday, after completing my latest work, I felt the urge to experiment with it.
So I isolated the initial fragment of "Didja Get Any Onya" and overlapped it at the end of my piece.
I found the result quite surprising. Would you mind sharing with me your opinions? Thank you very much!
Eidon't DoThat
https://eidon.bandcamp.com/track/onya-get-any-didja-xenochrazy-ii
-
Hi Everyone,
yesterday, after completing my latest work, I felt the urge to experiment with it.
So I isolated the initial fragment of "Didja Get Any Onya" and overlapped it at the end of my piece.
I found the result quite surprising. Would you mind sharing with me your opinions? Thank you very much!
Eidon't DoThat
https://eidon.bandcamp.com/track/onya-get-any-didja-xenochrazy-ii
-
Hi Everyone,
yesterday, after completing my latest work, I felt the urge to experiment with it.
So I isolated the initial fragment of "Didja Get Any Onya" and overlapped it at the end of my piece.
I found the result quite surprising. Would you mind sharing with me your opinions? Thank you very much!
Eidon't DoThat
https://eidon.bandcamp.com/track/onya-get-any-didja-xenochrazy-ii
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I've just completed a new generative piece this night. I called it "Voce" ("voice" in Italian). It's for xylophone, marimba, harp, percussion, and two controbasses.
...I must confess, I like it very much. Now I just hope you'll like it too 😄
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I've just completed a new generative piece this night. I called it "Voce" ("voice" in Italian). It's for xylophone, marimba, harp, percussion, and two controbasses.
...I must confess, I like it very much. Now I just hope you'll like it too 😄
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I've just completed a new generative piece this night. I called it "Voce" ("voice" in Italian). It's for xylophone, marimba, harp, percussion, and two controbasses.
...I must confess, I like it very much. Now I just hope you'll like it too 😄
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I've just completed a new generative piece this night. I called it "Voce" ("voice" in Italian). It's for xylophone, marimba, harp, percussion, and two controbasses.
...I must confess, I like it very much. Now I just hope you'll like it too 😄
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I've just completed a new generative pîece this night. I called it "Voce" ("voice" in Italian). It's for xylophone, marimba, harp, percussion, and two controbasses.
...I must confess, I like it very much. Now I just hope you'll like it too 😄
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I've just completed a new generative pîece this night. I called it "Voce" ("voice" in Italian). It's for xylophone, marimba, harp, percussion, and two controbasses.
...I must confess, I like it very much. Now I just hope you'll like it too 😄
-
I've just completed a new generative pîece this night. I called it "Voce" ("voice" in Italian). It's for xylophone, marimba, harp, percussion, and two controbasses.
...I must confess, I like it very much. Now I just hope you'll like it too 😄
-
I've just completed a new generative piece this night. I called it "Voce" ("voice" in Italian). It's for xylophone, marimba, harp, percussion, and two controbasses.
...I must confess, I like it very much. Now I just hope you'll like it too 😄
-
I've just completed a new generative piece this night. I called it "Voce" ("voice" in Italian). It's for xylophone, marimba, harp, percussion, and two controbasses.
...I must confess, I like it very much. Now I just hope you'll like it too 😄
-
I've just completed a new generative piece this night. I called it "Voce" ("voice" in Italian). It's for xylophone, marimba, harp, percussion, and two controbasses.
...I must confess, I like it very much. Now I just hope you'll like it too 😄
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This track is dedicated to xylophone, marimba, and vibraphone player Ruth Underwood, sublime Mother of Inventions for a glorious decade of Zappa music (from 1968 to 1977).
It is available in lossless format at https://eidon.bandcamp.com/track/ruth
#GenerativeMusic #Grundgestalt
#mastomusic
@jazzmusic
#jazz -
This track is dedicated to xylophone, marimba, and vibraphone player Ruth Underwood, sublime Mother of Inventions for a glorious decade of Zappa music (from 1968 to 1977).
It is available in lossless format at https://eidon.bandcamp.com/track/ruth
#GenerativeMusic #Grundgestalt
#mastomusic
@jazzmusic
#jazz -
This track is dedicated to xylophone, marimba, and vibraphone player Ruth Underwood, sublime Mother of Inventions for a glorious decade of Zappa music (from 1968 to 1977).
It is available in lossless format at https://eidon.bandcamp.com/track/ruth
#GenerativeMusic #Grundgestalt
#mastomusic
@jazzmusic
#jazz -
My generative composition approach, in a nutshell:
An example:
On #Bandcamp: https://eidon.bandcamp.com/track/1-furaguma-iOn #Youtube: https://youtu.be/mwTj0YuZ6TM, on https://www.youtube.com/@eidonveda.
#μQuanta #WohlgestalteteKomposition. #Grundgestalt
#GenerativeMusic #AlgorithmicComposition#mastomusic
@contemporarymusic
#musiqueContemporaine
#contemporarymusic -
My generative composition approach, in a nutshell:
An example:
On #Bandcamp: https://eidon.bandcamp.com/track/1-furaguma-iOn #Youtube: https://youtu.be/mwTj0YuZ6TM, on https://www.youtube.com/@eidonveda.
#μQuanta #WohlgestalteteKomposition. #Grundgestalt
#GenerativeMusic #AlgorithmicComposition#mastomusic
@contemporarymusic
#musiqueContemporaine
#contemporarymusic -
フラグマー 1This is “フラグマー 1” (“Furaguma I”), an algorithmic piece based on a compositional approach that I called Wohlgestaltete Komposition. It is a hybrid process, in which machine and man cooperate. In a nutshell:
- I identify musical quanta that represent initial configurations for a game simulator.
- When fed into the simulator, those “μQuanta” produce 3-voice music fragments. I select the μQuanta that produce fragments that I consider of interest, and I compose them together.
- I consider the music emerging from the combined fragments, and I operate modifications in the order and quantity of μQuanta in order to accentuate musical aspects that enhance the overall musical quality (according to my own perception) and to dampen aspects that I consider detrimental to that subjective concept of quality.
- I continue the process by disrupting the selected μQuanta by flipping / adding / subtracting certain elements. Those disruptions in some cases aim at producing more “balanced” initial configurations, such that the corresponding games and music fragments last longer. In some other cases they may be purely random.
- I include the disrupted μQuanta in the ongoing compositional process, and continue to build up the “piece” until its overall shape and contents assume what I arbitrarily recognize as a unique “identity”.
I refer to the overall selection of μQuanta in a piece such as “Furaguma I” as to “the Grundgestalt of Furaguma I”.
In fact, the term “Wohlgestaltete” means “well-shaped”, but it’s actually a reference to the above process of selection of μQuanta that shape up the piece by defining its “basic form” — its Grundgestalt.
When time allows, I will write a paper describing the Wohlgestaltete Komposition. I would appreciate it very much if you would have suggestions regarding possible target journals. Thank you!
Credits- Logo: Two of the 37 fragments from Manuscript Mi 75, a Missale crafted in a Trondheim scriptorium around 1150—1200. In Lilli Gjerløw: Ordo Nidrosiensis Ecclesiae (Oslo 1968), p. 92, n. 2 (as 878a). Processed with G’MIC.
- Video: Reversed fragments from “Hawaii’s Spectacular Volcano Eruptions”, 1960. Photography by Art Carter with help of Fred Rackle, John Bonsey, Claude Jendrusch.
Comment about Mi 75 “One of the challenges in sorting out the fragments from Mi 75 is that the scriptorium seems to have a rather casual attitude to ruling – two pages of the same leaf can have different writing space, and the columns may be of different widths. Lat. fragm. 896, 1-4 are related to Mi 75 through initials, pigment and parchment, but differ in scribe, music scribe and format. Still, the scribe seems to be imitating the main scribe of Mi 75, and may therefore have collaborated on the same book.”
…and finally:- On #Bandcamp: https://eidon.bandcamp.com/track/1-furaguma-i
- On #Youtube: https://youtu.be/mwTj0YuZ6TM, on https://www.youtube.com/@eidonveda.
#μQuanta #WohlgestalteteKomposition. #Grundgestalt #GenerativeMusic #AlgorithmicComposition
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フラグマー 1This is “フラグマー 1” (“Furaguma I”), an algorithmic piece based on a compositional approach that I called Wohlgestaltete Komposition. It is a hybrid process, in which machine and man cooperate. In a nutshell:
- I identify musical quanta that represent initial configurations for a game simulator.
- When fed into the simulator, those “μQuanta” produce 3-voice music fragments. I select the μQuanta that produce fragments that I consider of interest, and I compose them together.
- I consider the music emerging from the combined fragments, and I operate modifications in the order and quantity of μQuanta in order to accentuate musical aspects that enhance the overall musical quality (according to my own perception) and to dampen aspects that I consider detrimental to that subjective concept of quality.
- I continue the process by disrupting the selected μQuanta by flipping / adding / subtracting certain elements. Those disruptions in some cases aim at producing more “balanced” initial configurations, such that the corresponding games and music fragments last longer. In some other cases they may be purely random.
- I include the disrupted μQuanta in the ongoing compositional process, and continue to build up the “piece” until its overall shape and contents assume what I arbitrarily recognize as a unique “identity”.
I refer to the overall selection of μQuanta in a piece such as “Furaguma I” as to “the Grundgestalt of Furaguma I”.
In fact, the term “Wohlgestaltete” means “well-shaped”, but it’s actually a reference to the above process of selection of μQuanta that shape up the piece by defining its “basic form” — its Grundgestalt.
When time allows, I will write a paper describing the Wohlgestaltete Komposition. I would appreciate it very much if you would have suggestions regarding possible target journals. Thank you!
Credits- Logo: Two of the 37 fragments from Manuscript Mi 75, a Missale crafted in a Trondheim scriptorium around 1150—1200. In Lilli Gjerløw: Ordo Nidrosiensis Ecclesiae (Oslo 1968), p. 92, n. 2 (as 878a). Processed with G’MIC.
- Video: Reversed fragments from “Hawaii’s Spectacular Volcano Eruptions”, 1960. Photography by Art Carter with help of Fred Rackle, John Bonsey, Claude Jendrusch.
Comment about Mi 75 “One of the challenges in sorting out the fragments from Mi 75 is that the scriptorium seems to have a rather casual attitude to ruling – two pages of the same leaf can have different writing space, and the columns may be of different widths. Lat. fragm. 896, 1-4 are related to Mi 75 through initials, pigment and parchment, but differ in scribe, music scribe and format. Still, the scribe seems to be imitating the main scribe of Mi 75, and may therefore have collaborated on the same book.”
…and finally:- On #Bandcamp: https://eidon.bandcamp.com/track/1-furaguma-i
- On #Youtube: https://youtu.be/mwTj0YuZ6TM, on https://www.youtube.com/@eidonveda.
#μQuanta #WohlgestalteteKomposition. #Grundgestalt #GenerativeMusic #AlgorithmicComposition
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Ningyo (“人魚”) in Japanese literally means “human fish,” though is often rendered as “mermaid.” It is one of the Yōkai, the fantastic creatures of Japanese folklore. You know the Kappa? Well, same family, so to speak; both are water creatures. As I mentioned already, I like Japanese folklore very much; lately I’ve been reading a book by S. Lafcadio Hearn called “𝘐𝘯 𝘎𝘩𝘰𝘴𝘵𝘭𝘺 𝘑𝘢𝘱𝘢𝘯” with nice fantastic stories some of them featuring Yōkai. And I am reading an excellent manga by Yoshitomi Akihito called “𝘚𝘤𝘩𝘰𝘰𝘭 𝘕𝘪𝘯𝘨𝘺𝘰.” Possibly because of this, when I created this #Grundgestalt I immediately imagined the Ningyo with their water dance to the rhythm of my song. Well, one can dream, can’t one?
Ningyo is a piece that came about gradually. I first created a purely rhythm section, based on two kalimba, timpani, drums and percussion. From this first section I extracted the beginning and ending parts of Ningyo. I then added harp and pizzicato strings and extracted the middle part of the song. The whole was mixed in #xenocrony with two double basses and a piano, again taken from the original Grundgestalt seed. If you want to listen to this piece in lossless quality, have a look on my #bandcamp here
Happy listening!
Photo:
- John William Waterhouse (1849-1917): A Mermaid. Faithful photographic reproduction of a two-dimensional, public domain work of art.
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Ningyo (“人魚”) in Japanese literally means “human fish,” though is often rendered as “mermaid.” It is one of the Yōkai, the fantastic creatures of Japanese folklore. You know the Kappa? Well, same family, so to speak; both are water creatures. As I mentioned already, I like Japanese folklore very much; lately I’ve been reading a book by S. Lafcadio Hearn called “𝘐𝘯 𝘎𝘩𝘰𝘴𝘵𝘭𝘺 𝘑𝘢𝘱𝘢𝘯” with nice fantastic stories some of them featuring Yōkai. And I am reading an excellent manga by Yoshitomi Akihito called “𝘚𝘤𝘩𝘰𝘰𝘭 𝘕𝘪𝘯𝘨𝘺𝘰.” Possibly because of this, when I created this #Grundgestalt I immediately imagined the Ningyo with their water dance to the rhythm of my song. Well, one can dream, can’t one?
Ningyo is a piece that came about gradually. I first created a purely rhythm section, based on two kalimba, timpani, drums and percussion. From this first section I extracted the beginning and ending parts of Ningyo. I then added harp and pizzicato strings and extracted the middle part of the song. The whole was mixed in #xenocrony with two double basses and a piano, again taken from the original Grundgestalt seed. If you want to listen to this piece in lossless quality, have a look on my #bandcamp here
Happy listening!
Photo:
- John William Waterhouse (1849-1917): A Mermaid. Faithful photographic reproduction of a two-dimensional, public domain work of art.
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Okonai is the rite of marriage between the rice fields and the mountain, which represent the world organized by man and the Absolutely Free world of Nature:
“There is an ancient rite, the okonai (行ない), which clearly expresses, in the symbolic language of the ceremony, the cultural perception of sacred space, based on overcoming the opposition between the two dimensions of the ecosystem that characterizes daily village life: the rice fields and the mountain. On the night of the first of the year, the village heads of households climb up to the slopes of the mountain. On the edge of the forest they draw a sacred perimeter. The tōya 当屋, the religious and social leader of the village, enters it, holding two wooden statues representing one the mountain goddess (Yama-no-kami, 山の神) and the other the god of the rice field (Ta-no-kami, 田の神). The tōya joins the two statues symbolizing their sexual union, pours sake, the symbol of semen, on their sexes, and declares them to be newlyweds. Everyone then presents offerings to the deities and the officiant reads norito 祝詞, a prayer formula. Sake is then distributed to each person, and the offerings are divided and consumed. The village chief makes possible the union between the deities who define the two different spaces, of the cultivated and the wild, and seals the harmony between humans and nature. The dichotomy of these economically and culturally distinct worlds is not perceived as a rigid opposition, a distinction that denies any possibility of an exchange relationship; it is expressed in the terms of a necessary complementarity. Everything in this ritual is mediation: mediation of spatial patterns because the ritual takes place at the boundary point between the last rice fields and the forest. And mediation of time, because the ceremony marks the transition from one year to the next, between the cultivation cycle that has passed and the one that is to begin; it is the last hours of the night when the rite begins and, when it ends, it is dawn.”
(Massimo Raveri, “Classical Japanese Thought,” Piccola Biblioteca Einaudi, ISBN 9788806165871).
Two worlds becoming one; the transition from night to day, from the old to the new, from the mystical to the carnal: all this struck me in no small measure. I then thought of writing a piece of music dedicated to this propitiatory rite. And so here is Okonai, an algorithmic composition generated from the two seed strings “tanokami” and “yamanokami.” It can be downloaded from my #bandcamp here. I hope you’re going to enjoy it!
The photos, so beautiful in my opinion, are by Kanemori.
#Japan #Shinto #OriginalMusic #AlgorithmicComposition #Grundgestalt #Eidon
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Okonai is the rite of marriage between the rice fields and the mountain, which represent the world organized by man and the Absolutely Free world of Nature:
“There is an ancient rite, the okonai (行ない), which clearly expresses, in the symbolic language of the ceremony, the cultural perception of sacred space, based on overcoming the opposition between the two dimensions of the ecosystem that characterizes daily village life: the rice fields and the mountain. On the night of the first of the year, the village heads of households climb up to the slopes of the mountain. On the edge of the forest they draw a sacred perimeter. The tōya 当屋, the religious and social leader of the village, enters it, holding two wooden statues representing one the mountain goddess (Yama-no-kami, 山の神) and the other the god of the rice field (Ta-no-kami, 田の神). The tōya joins the two statues symbolizing their sexual union, pours sake, the symbol of semen, on their sexes, and declares them to be newlyweds. Everyone then presents offerings to the deities and the officiant reads norito 祝詞, a prayer formula. Sake is then distributed to each person, and the offerings are divided and consumed. The village chief makes possible the union between the deities who define the two different spaces, of the cultivated and the wild, and seals the harmony between humans and nature. The dichotomy of these economically and culturally distinct worlds is not perceived as a rigid opposition, a distinction that denies any possibility of an exchange relationship; it is expressed in the terms of a necessary complementarity. Everything in this ritual is mediation: mediation of spatial patterns because the ritual takes place at the boundary point between the last rice fields and the forest. And mediation of time, because the ceremony marks the transition from one year to the next, between the cultivation cycle that has passed and the one that is to begin; it is the last hours of the night when the rite begins and, when it ends, it is dawn.”
(Massimo Raveri, “Classical Japanese Thought,” Piccola Biblioteca Einaudi, ISBN 9788806165871).
Two worlds becoming one; the transition from night to day, from the old to the new, from the mystical to the carnal: all this struck me in no small measure. I then thought of writing a piece of music dedicated to this propitiatory rite. And so here is Okonai, an algorithmic composition generated from the two seed strings “tanokami” and “yamanokami.” It can be downloaded from my #bandcamp here. I hope you’re going to enjoy it!
The photos, so beautiful in my opinion, are by Kanemori.
#Japan #Shinto #OriginalMusic #AlgorithmicComposition #Grundgestalt #Eidon
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Ningyo (“人魚”) in Japanese literally means “human fish,” though is often rendered as “mermaid.” It is one of the Yōkai, the fantastic creatures of Japanese folklore. You know the Kappa? Well, same family, so to speak; both are water creatures. As I mentioned already, I like Japanese folklore very much; lately I’ve been reading a book by S. Lafcadio Hearn called “𝘐𝘯 𝘎𝘩𝘰𝘴𝘵𝘭𝘺 𝘑𝘢𝘱𝘢𝘯” with nice fantastic stories some of them featuring Yōkai. And I am reading an excellent manga by Yoshitomi Akihito called “𝘚𝘤𝘩𝘰𝘰𝘭 𝘕𝘪𝘯𝘨𝘺𝘰.” Possibly because of this, when I created this #Grundgestalt I immediately imagined the Ningyo with their water dance to the rhythm of my song. Well, one can dream, can’t one?
Ningyo is a piece that came about gradually. I first created a purely rhythm section, based on two kalimba, timpani, drums and percussion. From this first section I extracted the beginning and ending parts of Ningyo. I then added harp and pizzicato strings and extracted the middle part of the song. The whole was mixed in #xenocrony with two double basses and a piano, again taken from the original Grundgestalt seed. If you want to listen to this piece in lossless quality, have a look on my #bandcamp here
Happy listening! ^_^
Photos:- John William Waterhouse (1849-1917): A Mermaid. Faithful photographic reproduction of a two-dimensional, public domain work of art.
- Gea and her Kappa ((c) Luca Enoch)
- “Ningyo no zu”, fifth month of the second Bunka year (1805).
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Ningyo (“人魚”) in Japanese literally means “human fish,” though is often rendered as “mermaid.” It is one of the Yōkai, the fantastic creatures of Japanese folklore. You know the Kappa? Well, same family, so to speak; both are water creatures. As I mentioned already, I like Japanese folklore very much; lately I’ve been reading a book by S. Lafcadio Hearn called “𝘐𝘯 𝘎𝘩𝘰𝘴𝘵𝘭𝘺 𝘑𝘢𝘱𝘢𝘯” with nice fantastic stories some of them featuring Yōkai. And I am reading an excellent manga by Yoshitomi Akihito called “𝘚𝘤𝘩𝘰𝘰𝘭 𝘕𝘪𝘯𝘨𝘺𝘰.” Possibly because of this, when I created this #Grundgestalt I immediately imagined the Ningyo with their water dance to the rhythm of my song. Well, one can dream, can’t one?
Ningyo is a piece that came about gradually. I first created a purely rhythm section, based on two kalimba, timpani, drums and percussion. From this first section I extracted the beginning and ending parts of Ningyo. I then added harp and pizzicato strings and extracted the middle part of the song. The whole was mixed in #xenocrony with two double basses and a piano, again taken from the original Grundgestalt seed. If you want to listen to this piece in lossless quality, have a look on my #bandcamp here
Happy listening! ^_^
Photos:- John William Waterhouse (1849-1917): A Mermaid. Faithful photographic reproduction of a two-dimensional, public domain work of art.
- Gea and her Kappa ((c) Luca Enoch)
- “Ningyo no zu”, fifth month of the second Bunka year (1805).
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"Esoteric Buddhism, Grundgestalt, with a touch of Frank Zappa"
https://noblogo.org/eidon/esoteric-buddhism-grundgestalt-with-a-touch-of-frank-zappa
#Mantra #मन्त्र #Grundgestalt #Kotodama #言霊 #Krabat
#Shingon #真言 #種子 -
"Esoteric Buddhism, Grundgestalt, with a touch of Frank Zappa"
https://noblogo.org/eidon/esoteric-buddhism-grundgestalt-with-a-touch-of-frank-zappa
#Mantra #मन्त्र #Grundgestalt #Kotodama #言霊 #Krabat
#Shingon #真言 #種子 -
I have now an account on twitter.
There, I mainly post my music and photos
If you like, join me there:
https://twitter.com/E_i_d_o_N
#Music #Grundgestalt #OriginalMusic #Photos -
I have now an account on twitter.
There, I mainly post my music and photos
If you like, join me there:
https://twitter.com/E_i_d_o_N -
I have now an account on twitter.
There, I mainly post my music and photos
If you like, join me there:
https://twitter.com/E_i_d_o_N -
The Flowers of Evil (惡の華) is one of the greatest #manga ever written. Its Author is Oshimi Shūzō (押見修造)
If Tezuka is the Bach of manga, Oshimi is its Chopin
"Les Fleurs du Mal" is an album of #Grundgestalt's that I dedicated to 惡の華's characters
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The Flowers of Evil (惡の華) is one of the greatest #manga ever written. Its Author is Oshimi Shūzō (押見修造)
If Tezuka is the Bach of manga, Oshimi is its Chopin
"Les Fleurs du Mal" is an album of #Grundgestalt's that I dedicated to 惡の華's characters
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A few days ago I created a new piece: Ain Soph Aur.
It’s a piece in three parts:
- Ain: for piano solo;
- Soph: for tenor sax, flute, percussions, and piano;
- Aur: for piano solo.
It’s a #Grundgestalt, meaning that it is a composition algorithmically generated from a theme.
A video is available here.
Ain Soph Aur is the last piece of my latest album, “Tensegrity”
I really hope you might like it!
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After a long while, today I have created a new piece: Ain Soph Aur.
It's in three parts
1) Ain: piano solo
2) Soph: tenor sax, flute, percussions, and piano
3) Aur: piano solo.
https://eidon.bandcamp.com/track/ain-soph-aur
It's a #Grundgestalt, meaning that it is a composition algorithmically generated from a theme.
It is the last piece of my album, "Tensegrity"
https://eidon.bandcamp.com/album/tensegrity
I hope you'll like it!
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After a long while, today I have created a new piece: Ain Soph Aur.
It's in three parts
1) Ain: piano solo
2) Soph: tenor sax, flute, percussions, and piano
3) Aur: piano solo.
https://eidon.bandcamp.com/track/ain-soph-aur
It's a #Grundgestalt, meaning that it is a composition algorithmically generated from a theme.
It is the last piece of my album, "Tensegrity"
https://eidon.bandcamp.com/album/tensegrity
I hope you'll like it!
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Illyeen
“Illyeen” is an original spelling for “عِلِّيِّين”, which is a Quranic name for girls (see other spellings and more info here)
“Illyeen” is also my latest #Grundgestalt. If you like, you can download it from my #Bandcamp
Oh, yes, “Illyeen” is also an anagram of “Ley Line”.
And “Ley Lines”… is my latest album:
<a href="https://eidon.bandcamp.com/album/ley-lines">Ley Lines by Eidon</a>
Also on Bandcamp yeah
The video has been done with txt2srt, a simple tool to orchestrate the execution of other tools on a sequence of pictures.
Illyeen is by Eidon, and is (c) Eidon (Eidon at tutanota dot com). All rights are reserved.
Pictures in the video are by Eidon. They are licensed under a Creative Commons Attribution 4.0 International License.
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Orochi, a little exercise in composition:
https://noblogo.org/i-miei-piccoli-grundgestalt/orochi-esercizio-no
https://peertube.uno/videos/watch/52da0e5f-67a8-41c2-84a6-00f039df6a29
(c) Eidon (Eidon at tutanota.com). All rights reserved.
#Grundgestalt
#peertubenkwhale
#noblogo #writefreely -
I principali #blog su #noblogo:
@eidon
@i-miei-piccoli-grundgestalt
@filippoalbertin
@rudycorteratnoblogo-org
@diorama
@gippo
@littlesard
@impopolare
@funkwhale
@streaming
@paolo-pedaletti
@onlyskin
@writefreely
@socialnetwork
@peertube
@mastodon
@bradiparty#writefreely #mastodon #peertube #funkwhale #eidon #grundgestalt #filippoalbertin #rudycortera #diorama #gippo #littlesard #impopolare #streaming #paolopedaletti #onlyskin #socialnetwork #bradiparty
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@eidon
@i-miei-piccoli-grundgestalt
@filippoalbertin
@rudycorteratnoblogo-org
@diorama
@gippo
@littlesard
@impopolare
@funkwhale
@streaming
@paolo-pedaletti
@onlyskin
@writefreely
@socialnetwork
@peertube
@mastodon
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